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THE PAINTINGS SECTION FROM DAVIS MUSEUM The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona Davis Lisboa, "Marcel Broodthaers 15”, 2018, oil on canvas, 19.7 H x 19.7 W x 1.6 D in. (50 H x 50 W x 3.5 D cm). What/who inspired the work? Conceptually I was inspired by a still from the movie "La Pluie (Projet pour un texte)", a short video by Marcel Broodthaers made in 1969. "La Pluie" (The Rain) was filmed in the garden of the rue de la Pépinière during the "Musée d’Art Moderne, Département des Aigles, Section XIXe" siècle period. The backdrop is a brick wall on which the words DEPARTMENT OF WATER are written in whitewash. This was one of the three films Broodthaers made in the same location. The others were "La Pipe" and "La Satire". Sequences from "La Pluie" appear in certain versions of "Un voyage à Waterloo" and "La Discussion inaugurale". The film shows Marcel Broodthaers trying to write while the rain constantly washes away the ink. In the final scene, during which the artist gives up and drops his pen, the inscription “Projet pour un texte” (Project for a text) appears. The film formed part of the "Cinéma Modèle and Rendez-vous mit Jacques Offenbach" programme and was projected at many other film showings during Broodthaers’ lifetime, including “Film als Objekt - Objekt als Film”, “Salle Lumière”, “Films, dias et photos”, and “Actualité d’un Bilan”. "La Pluie" was screened together with the works "Neuf peintures, Série française" on 16 January 1973 in the Galerie Françoise Lambert, in Milan. The nine-picture series and copies of the film were sold as a single work. The nine pictures had previously been exhibited in "Actualité d’un Bilan", a collective exhibition that took place in October 1972 at the Galerie Yvon Lambert in Paris. In the following section we reproduce a facsimile of the text by Marcel Broodthaers dedicated to "La Pluie (Projet pour un texte)". PROJECT FOR A TEXT I hate movements that displace the lines. If I make a film, for a genre still defined as the discipline of movement, I have to repeat Baudelaire’s verse, unless… 1. … I don’t make the film and at the same time accept the value of the unused film, the filmmaker’s blank page, and pray that someone else makes it. 2. … I make the film at the expense of hate. A love film for instance. This is highly enticing but involves the risk of serving as a banner for a wide range of merchandise —advertising and propaganda films, pornography, prohibited films… 3. … I set aside the problems of film-specific language and consider the film as a simple reference to a type of abstraction. Thus, in certain aspects of conceptual art the film is often a banal intermediary in which the idea plays the role of the main subject matter. But doesn’t the subject seem shrunken by that conventionalism of transmission style, if not absorbed and relegated to a rarely original documentary of hackneyed ideas? … The new image techniques rather than those of film (laser) enable us to find a solution — fleeting I fear — which is indeed interesting. But you have to be immersed in the world of technology to use this type of medium with any success. And here I find myself cruelly split between something immobile which has already been written and the comic movement that animates at 24 images per second. "Marcel Broodthaers, Cinéma". Barcelona: Fundació Antoni Tàpies, 1997. https://www.macba.cat/en/art-artists/artists/broodthaers-marcel/pluie-projet-pour-texte Formally, I was inspired by the German painter Gerhard Richter, who began in 1960's to create his iconic photographic paintings. From a collection of photographs that he added throughout his life - from press clippings to family photos - Richter projected and drew the images on a canvas. In the process of recreating the photos, he erased the images, leaving the subjects unidentifiable. What do you hope its viewers will think? I hope that viewers understand that there is a narrative within the history of art that deals with the artists who created their own museums. This narrative is constructed through Marcel Duchamp (Boîte-en-valise, 1936-1941), Robert Filliou (La galerie légitime, 1962-1963) and Marcel Broodthaers (Musée d'Art Moderne, Département des Aigles, 1968-1972) . Following this narrative, I decided to create the Davis Museum, The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona, https://www.davismuseum.com (2009-ongoing), which is, simultaneously, a readymade sculpture, a non-profit collective art project, and at the same time, a cultural entity recognized by the Generalitat de Catalunya (an Autonomous Community in Spain). http://pect.cultura.gencat.cat/difusio/Fitxa?index=347&consulta=MCU0KzA4MDE5MyU%3D&codi=C10568&fbclid=IwAR2uhNxa7NSoGum5xBWsAkJI_G1X8eVGFZz5F_ZlSkRJH91YCVUUmOMzkWk Created symbolically in an electoral ballot box and disseminated mainly through Facebook, the Davis Museum is also the smallest contemporary art museum in the world. This cultural entity has several sections and one of them is "The Paintings Section From Davis Museum". It is divided into portraits and still lifes. The portraits represent Marcel Duchamp, Robert Filliou and Marcel Broodthaers; while still lifes represent the "Boîte-en-valise" (Box in a suitcase), the "Galerie légitime" (Legitimate gallery) and the "Musée d'Art Moderne, Département des Aigles" (Museum of Modern Art, Department of Eagles). Why did you choose the medium, the frame format and the color? I chose oil on canvas because I am interested in painting not only because of its versatility as a medium but also because of its rich historical repository of images and ideas. Only the best materials have been used for this work: linen canvas, oil paintings by Old Holland and medium by Blockx. As the Davis Museum is a cube, I chose the frame of the paintings to be square. I chose the gray color for the paintings from 2011 to 2016; then, only the blue for the paintings from 2016 to 2018; and full-color for the paintings from 2019 to the next. “The Paintings Section” is the only section from Davis Museum where works of art are on sale. Support The Davis Museum art project by buying now this painting on Saatchi Art. How will your artwork be packed for a movement? Artwork will be guaranteed to be shipped in accordance with high security standards, so that your shipment is as safe as possible while traveling from the artist's studio to your museum, gallery, hotel, business or home. For this, your oil paintings on canvas will be sent unrolled, stretched out on a wooden frame, flat, without frames and any special assembly. The packaging of wrapped canvases consists of: · An acid-free archival quality glassine paper cover · Two sheets of Foam boards · A sealed heavy plastic bag (to protect against moisture) · Two layers of bubble wrap and secure with tape · Cardboard protectors to each corner of the oil painting · Two other larger sheets of Foam boards · A sturdy cardboard box marked as "Fragile" The Paintings Section From Davis Museum, The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona in Public and Private Collections • The Alejandro Vásquez Herrero Collection, Viladecans, Spain • The Ashish Mistry Collection, Atlanta, USA • The Daniel Marcoux Collection, Montreal, Canada • The Denise Siqueira Collection, São Paulo, Brazil • The Francesc Torres Collection, Barcelona, Spain • The Geert De Kegel Collection, Zele, Belgium • The Philip Henderson Collection, Atlanta, USA • The Soteris Argyrou Collection, Nicosia, Cyprus • The Taylor Smith Collection, Indianapolis, USA • The Yellowstone Club Collection, Big Sky, Montana, USA
Painting:Oil on Canvas
Size:19.7 W x 19.7 H x 1.6 D in
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Customs:Shipments from Spain may experience delays due to country's regulations for exporting valuable artworks.
My name is Davis Lisboa (1965, São Paulo, Brazil), living and working in Barcelona, Spain. I'm a multifaceted illustrator and painter who, through my work, try to erase the boundaries between graphic arts and fine arts, high and low culture, art and the market, crafts and technology. In 2009 I created the Davis Museum | Davis Lisboa Mini-Museum of Contemporary Art in Barcelona. I have studied Desenho de Comunicação at the ETE Carlos de Campos and Painting at the Centre d'Art i Disseny Escola Massana and at the Facultat de Belles Arts de la Universitat de Barcelona. Since 1982 I've been working as a storyboard artist creating storyboards for various advertising agencies in Brazil, Spain, Russia, England or the United States. In 1987 I moved to Barcelona, where I worked as a graphic illustrator in a design studio and two years later, I opened my own illustration and painting studio. In 2005 I began to hold exhibitions as an artistic, figurative and contemporary painter at art galleries, cultural centers and art museums, and in 2009, I created the Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona, a cultural entity recognized by the Generalitat de Catalunya, now, expanding my activity towards cultural management. I have participated in several exhibitions, including Museum Show at Arnolfini, Bristol, England; Eleven: The John Erickson Museum of Art (JEMA) 10 Year Retrospective at The Harn Museum of Art, Gainesville, USA and at the Galería Bob Rauschenberg, Fort Myers, USA; Remix - 10 years in the mix at the en la Spor Klübü, Berlin, Germany; Small, Unusual and Specialist Museums Survey at the CRATE Studio and Project Space, Margate, England; Incubarte at Centro del Carmen, Valencia, Spain; FluxFest 2019, Pride Mail Project and Big Ideas in Small Art at The Rose Shelton Gallery, Toronto, Canada; Aquí y Ahora 6 - Power, corruption & lies at the Galería Blanca Soto, Madrid, Spain; VI Biennale Internazionale dell'Arte Contemporanea di Firenze, Italy; Holland Art Fair, The Hague; La Secció de les Pintures del Davis Museum, at the Casa del LLibre, Barcelona, Spain; NeoLatinísiiimo Art Biennial at the City Lights Gallery, Bridgeport, Connecticut, USA; Mirades des del confinament, con Joan Fontcuberta, Festival Cruïlla, Òmnium Cultural, Igualada, España, among others.
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